“On the last day Parwati Dutta, a renowned Kathak exponent known for her social activities in Mahagami, Aurangabad, enthralled the audience. Her choreography was noteworthy for the historical and legendary backdrop of Aurangabad. ‘Om Namah Shivaaya’, was an invocation to Siva in the Jyotirlinga (lingam of light) shrine at the place. The second part of it was performed to Devagiri Bilawal, a raga created by Gopal Nayak at the Devagiri Fort in Aurangabad in the14th century.
Rhythm is the core of Kathak and Jhap taal of 10 beats was taken to highlight the significance of this aspect in ‘Taal Roop,’ for which music composed by Pandit Birju Maharaj was used. The holistic effervescence of Kathak including gliding movements, pirouettes, footwork and silvery freezes was exhibited in a Tulasidas composition.
Two solos were staged by Parwati. The Swati composition ‘Chaliye kunjan mein’ in Brindavana Saranga as portrayed by the dancer was an index of her histrionic dexterity. In the second one ‘Rumjhum badariya barse’, she portrayed a vasakasajjita nayika whose longing for the beloved is elated by the rains. Various images of the monsoon were depicted through a composition of Tansen, performed as a group.
The concluding number ‘Nirjharini’ was a tribute to the grandeur and emotive richness of water drops in a waterfall near the Ellora caves adjacent to Aurangabad.”